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Hey Arjuna, I'm continuing with Bach's organ music this week: Just Magnificent. This is such a grand one!! All the numbers are related to trinity: 3 subjects, 3 sections, key in 3 flats, bars ratio 36:45:36, 3 bar structure. I only know now that the famous Toccata and fugue is probably not composed by Bach. A beautiful one! The famous little fugue in G minor which @Bjarke arranges lately! I know now why it's such a great piece. Peter Williams speculates that the fugue composed first and Bach took the theme to be ostinato in the Passacaglia. Henry

Thank you for the feedback. I will look into it and come back with an update in the future 🙂 @ Henry Ng Tsz Kiu

Hi @Bjarke, This is a good arrangement of the piece. I'm just wondering why you sometimes cut off voices strictly, for example in p.7 b.2 I know that the voice for clarinet and trombones (plus others) is a false subject but maybe I will at add a G after the phrase, instead of having the phrase so clear cut, or in p.6 b.4 the horns and trombones cutting off seem strange to me. In p.8 b.2, if you have notated a2, then you don't have to use both stems to indicate the two horns. The trumpet there can just mark an a3, instead of having an additional a2 for 2, 3 there. The pizz. in p.11 for the lower strings seem too weak for the fugue subject and they will be overshadowed by the trombones and tuba. The harp for me seems unnecessary with not too much appearance in the piece. Also, maybe there will be breathing issues for the woodwind given how many notes they will have to play and how quickly the tonguing has to be, for example in p.10 b.4 to p.13 b.2 with 11 bars non-stop playing. Nonetheless I enjoy this arrangement! Henry

As usual I'll start the convo. Ive been listening to quite a few symphonies this week including: Beethoven's 3rd Mendelsohn's 4th And Berlioz's Symphonie Fantastique I also listened to this beauty

Wow, you have managed to successfully get out of a seemingly very difficult task. Doing a version of these composers is always a risk, but with an orchestral fugue even more so. However, for me, the clarity of the melodic lines is very well defined. I don't know exactly how you approached it (by timbre and/or tesituras) but it works perfectly. The only thing I'd like to point out is that the French horns are ungrouped for no apparent reason. I also tell you that, personally, I would delete what you call Guide.